Music
like dancing, had its origin in the primitive
dances and plays, developed by the ancient people
in propitiation of the deities of the hills
and forests. The development of such art forms
as Kuthu Kudiyattam, Astapadi Attan, Krishnanattam,
Ramanattam, Kathakali etc., gave a fillup
to music in later days. An indigenous classical
music called theSopanasangita
developed itself in the temples of Kerala, in
the wake of the increasing popularity of Jayadeva's
Gita Govinda or Ashtapadi. The
Kathakalipadas composed by scholars
like Irayimman Thampi and the Tullal songs of
Kunjan Nambiar also enriched the musical culture
of Kerala.

The
reign of Swati Tirunal, the ruler
of Travancore, is called "the
Augustan Age of Kerala Music".
A great patron of music, he attracted
to his court some of the gifted musicians
of the age. In collaboration with
his Guru Meruswami who was well-versed
in Hindustani and Karnatic music,
Swati Tirunal composed a number of
songs in popular ragas in a variety
of languages. Four musicians from
Tanjore by name Vativelu, Ponnayya,
Chinnayya and Sivanandan, otherwise
known as the "Tanjore Quartet",
lived in his court. To Vativelu goes
the credit for the introduction of
violin in Karnatic music. The Tanjore
brothers were also highly gifted in
Bharata Natyam and under their
influence Swati Tirunal composed Varnas,
Swarajits, Padas and Tillanas
for staging this dance form. Subbukkutty
Ayya, a master of Veena, was also
leading light in Swati's court.

In
addition to the musicians mentioned
above who came to Swati's court from
outside Kerala, several gifted local
musicians also enjoyed his patronage,
the most celebrated among them being
Shadkala Govinda Marar. Marar
was a rare musical prodigy. He devised
a Tamburu with seven strings instead
of the usual four. He also achieved
the unique distinction of being able
to sing pallavis into six degrees
of time and this won for him the title
Shadkala. At Swati Tirunal's instance,
Marar went on a futile mission to
Tiruvayyur to fetch Tyagaraja to the
royal court. Tyagaraja was so much
impressed by an inspired musical performance
of Govinda Marar at the place that
he composed and sang on the spot that
famous Telugu song "Entaro
mahanubhavalu, Anstariki Vandanamu"
(There are ever so many great men
in this world and I bow to all of
them). Two other Kerala musicians
who adorned Swati's court were Paramesware
Bhagavatar of Palakkad and Maliyakkal
Krishna Marar. Irayimman Tampi, a
close associate of Swati Tirunal,
was also a musician and composer of
high calibre who lived in the royal
court and collaborated with the Maharaja
in his efforts to promote the cause
of cultural development.

The tradition of Kerala in the field
of music has continued unsullied in
modern times. To the galaxy of modern
Kerala musicians belong such stalwarts
as Vina Kalyanakrishna Bhagavatar,
Kathakalashepam Anantarama Bhagavatar,
Palghat Mani and Chembai Vaidyanatha
Bhagavatar who have substantially
enriched Karnatic music by their valuable
contributions.

Kerala has developed its own typical
temple arts in which instrumental
music plays an important part. Chenda
Melam which is played with such
instruments as Chenda, Kombu,
Kuzhal etc., is a feature of
all temple utsavams. Tayambaka
which involves the elaborate display
of talas on a classical piece
of drum (Chenda) is also
typical of Kerala. It is performed
in several sessions, each session
having its climaxes and anticlimaxes.
Panchavadyam is another unique
art in which the sounds emanating
from five musical instruments, (Maddalam,
Idakka, Timila, Kombu and Elathalam)
and two auxiliaries, Sankku
(Conch) and Kuzhal, in varying
pitches are synchronized. As in
Tayambakam so too in Panchavadyam,
each session lasts for hours. Nagaswaramelam,
otherwise called Pandimelam,
is another set of Vadyams played
in connection with temple pujas
and on such auspicious occasions
as marriages.

Idophonic
Instruments

Aramani

Chandravalayam

Chengala

Elathalam

Thalara

Kaimani

Kinnam

Kool

Kuzhithalam

Piriyankoolu

Ponthi

Villu

Wind
Instruments

Cheenam

Kaalam

Kombu

Kurum
Kuzhal

Kuzhal

Nagarwaaram

Otakkuzhal

Peepi
, Sankhu

Percussion
Instruments

Aravana

Chenda

Chettivadayam

Dakka

Davil

Dolu

Edakka

Kadumthuti

Maddalam

Mattaalam

Mrindangam

Mizhavu

Murasu

Nagaari

Nagaaram

Para

Sudhamaddalam

Tammittan

Thappatta

Tappu

Takil

Toppi
Maddalam

Timila

Tudi

Udukku

Urumi

Stringed
Instruments

Nanthuny

Pullavan
Kudam

Pullavan
Veena

Tamboru
, Veena

Sopana Sangeetham
Sopana Sangeetham is a very ancient
form of temple music in Kerala. The
word Sopana means a flight of
steps leading up to the sanctum sanctorum
of a temple. Devotional recitals rendered
on these steps came to be known as Sopana
sangeetham. Besides, the musical notes
(ragas) too have an ascending (aarohana)
and descending (avarohana) nature. Even
though over fifty types of musical instruments
can accompany Sopana sangeetham, Edakka
is most commonly used.

Kathakali Sangeetham
Kathakali music belongs to the Sopana
category of music which is typical of
Kerala and is characteristically slow,
strictly adhering to the tala
(rhythm) giving full scope for abhinaya
(acting). The bhagavathar or
the singer plays a key role in the staging
of the art form. The Bhagavathar plays
a key role in a Kathakali performance.
He is not just the singer, but also
the manager of the entire show. Among
the noted Kathakali singers of yester
years are Appukuttan Bhagavathar, Thiruvilwamala
(1851-1930), Ettiravi Namboothiri (1809
- 1908), Kannappa Kurup (1845 - 1921),
Kunjiraman Nambisan (1871 - 1916), Kunju
Podhuval (1879 - 1940) and Krishnankutty
Bhagavathar. Kathakali, especially its
verses and music are an enormous contribution
to Malayalam literature and music. Aattakkatha,
the literature part of Kathakali, forms
a separate division in Malayalam literature.
There are around 500 Aattakkathas and
a few among them are Nalacharitham aattakkatha,
Keechakavadhom aattakkatha, Dhuryodhanavadhom
aattakkatha etc. Compared to others
Kathakali music is more involved and
complex clarifying the meanings of mudras
or hand gestures, describing the context
and expressing the depth of emotions
enacted by the artiste.

With Kelikottu, an orchestration,
the performance begins percussion music
- Suddha maddalam marks the ritualistic
beginning of a Kathakali performance.
Two back up artistes hold up a curtain
and remove it to signify the start and
finish of each scene. Vocal musicians
or bhagavathars standing at the corner
of the stage sing, the lead singer called
Ponnani bhagavathar keeps time with
a resounding gong called the Chengila.
He is assisted by Shankidi who plays
a pair of Ilathalam (small cymbals).